The City of Domes | Page 7

of San Francisco; Robert Farquhar, of Los Angeles; Carrere &
Hastings, McKim, Mead & White, and Henry Bacon, of New York,
When it had completed the preliminary plans the board discontinued its
meetings and G. W. Kelham was appointed Chief of Architecture.

The Block Plan

At the first meeting President Moore explained that, at the St. Louis
Exposition, according to wide-expressed opinions, the buildings had

been too far apart. He favored maximum of space with minimum of
distance. The architects first considered the conditions they had to meet,
climate and physical surroundings. They were mainly influenced by
wind, cold and rain.
The result was that for the Protection of visitors, they agreed to follow
what was later to be generally known, as the block plan, the buildings
arranged in, four blocks, joined by covered corridors and surrounded by
a wall, with three central courts and two half-courts in the south wall. It
had been developed in many talks among the architects. Valuable
suggestions came from Willis Polk and from E. H. Bennett, of Chicago,
active in the earlier consultations. The plan finally accepted was the
joint work of the entire commission.
Twelve buildings were put under contract, each designed to illustrate an
epoch of architecture, ranging from the severity of the early classic to
the ornate French renaissance of to-day.

The Architecture

From the start it was realized that, vast as the Exposition was to be,
representing styles of architecture almost sensationally different, it
must nevertheless suggest that it was all of a piece. The relation of San
Francisco to the Orient provided the clue. It was fitting that on the
shores of San Francisco Bay, where ships to and from the Orient were
continually plying, there should rise an Oriental city. The idea had a
special appeal in providing a reason for extensive color effects. The bay,
in spite of the California sunshine, somewhat bleak, needed to be
helped out with color. The use of color by the Orientals had abundantly
justified itself as an integral part of architecture. The Greeks and the
Romans had accepted it and applied it even in their statuary. It was,
moreover, associated with those Spanish and Mexican buildings
characteristic of the early days of California history.

The General Arrangement

The general arrangement of the Exposition presented no great
difficulties. The lay of the land helped. Interest, of course, had to center
in the palaces and the Festival Hall, with their opportunities for
architectural display. They naturally took the middle ground. And, of
course, they had to be near the State buildings and the foreign pavilions.
The amusement concessions, it was felt, ought to be in a district by
themselves, at one end. Equally sequestered should be the livestock
exhibit and the aviation field and the race track, which were properly
placed at the opposite end. There would undoubtedly be many visitors
concerned chiefly, if not wholly, with the central buildings. If they
chose, they could visit this section without going near the other sections,
carrying away in their minds memories of a city ideal in outline and in
coloring.

Construction

As soon as the plans were decided on, the architects divided the work
and separated. Those who had come from a distance went home and in
a few months submitted their designs in detail. A few months later they
returned to San Francisco and the meetings of the architectural board
were resumed. Soon the modifications were made and the practical
construction was ready to begin. Incidentally there were compromises
and heartburnings. But limitations of funds had to be considered.
Finally came the question of the tower, giving what the architects
called "the big accent." There were those who favored the north side for
the location. Others favored the south side. After considerable
discussion the south side was chosen. At one of the meetings, Thomas
Hastings did quick work with his pencil, outlining his idea of what the
tower should be. Later, he submitted an elaborate plan. It was rejected.
A second plan was rejected, too. The third was accepted. It cost five
hundred thousand dollars.

Designs for two magnificent gateways, to be erected at the approaches
to the Court of the Ages and the Court of the Four Seasons were
considered. They had to be given up to save expense.

Clearing The Land

The task of clearing the land was finished in a few months. In addition
to the government reserve, the Exposition had seventy-six city blocks.
They represented two hundred parcels of land, with 175 owners, and
contained four hundred dwellings, barns and improvements. Most of
the buildings were torn down. A few were used elsewhere. Precautions
were taken to re-enforce with piles the foundations of the buildings and
of the heavy exhibits.
The director of